Thursday, September 19, 2013

Why Are You Called That? (Creative Writing)


            It was off Martino Road on the corner of Gauthier. She knew the land well, but perhaps she didn’t. It was past city limits and the people of Caruso don’t associate with the people of Curran.
            She knew the land well. She didn’t know it lied in Nagy. But no one knew of Nagy. And neither did she.
            She slipped out of her house one day when she had the place to herself. They’ll never know how long I’ve been gone and where I wandered off to, she thought. They don’t need to know. They’d only be worried. She stuffed a piece of paper into her pocket, tied her shoes, and went down the steps, being sure to keep quiet as not wake her neighbors that lived downstairs.
            Leaving the apartment, she began to walk. She walked, she strolled, she roamed, and she dodged the cars on the edge of the road. She walked until her feet reached mud and the pavement stopped. Several miles, though it’s hard to say how many. Her foot sank into the earth and caught her by surprise. “Am I still in Caruso?” She wondered. “Curran? But I’ve never heard of Martino Road or Gauthier Avenue.” She didn’t stop; she ventured on.
            She began to fall into a rhythm as she walked: something she hadn’t choreographed but rather something that matched the voice of the wind and the tumble of her thoughts. Curious thoughts that never stopped to rest or disrupt the consistent beat.
Dogwoods, elms, spruces, poplars.
Velvet grass.
Wildflowers.
Green.
Completely monochromatic with shy peaks and greetings from dandelions. And the sienna path she walked on.
So much of one color, but where is the gray? Where is the fog, the smog, and the screech of tires? The blinking red and yellow headlights? The glint of stained glass windows from the church? The silent roar of conversations: of whispers, topics, and controversy? Where is the cacophony of busy lives?
She couldn’t fathom this peace. This silence. A silence in which she could hear nothing but herself and the natural sounds that circled and danced around her.
And she couldn’t help but smile. Smile, twist her head, and breathe the same breath the wind used to sing. “Couldn’t be Curran,” she thought and then chuckled to herself. “Definitely too peaceful.” She’d never been to Curran, the neighboring town to her home of Caruso. She only heard the stories of violent actions: of robberies and murders and injustice. The people of Curran were selfish and cutthroat. Inconsiderate, greedy, yet urban just as Caruso is.
But nothing bad ever happened in Caruso. Crime never found its way. It was always diverted to Curran. Caruso is safe. It’s secure, friendly, and yet always gray with the smog of the city blanketing the area. “The people of Caruso bring color to the community,” everyone had always said and agreed. And how they all hated Curran because of it.
The rhythm she fell into never seemed to veer off-track, even though her thoughts certainly had.
Walking.
Thinking.
Venturing.
Pondering.
Exploring.
Contemplating.
“…Hello?”
Her rhythm finally shattered, quickly stopped by the voice of another. For a moment, there was complete silence. She was in a daze until she realized there was someone before her. Another girl, probably the same age as her. Short in stature with an intimidating face. She had a sense of confidence and authority in her voice that cut through the gentle wind. Her blonde hair swayed across her shoulder blades, as if the dance it was doing softened her stare and diluted the navy waters that flooded and colored her irises. Or maybe it was her thin frame that made her seem more inviting: fragile, yet with an aura that could cut through dry ice.
“You seem a bit… lost.” The girl cocked her head and placed her hands on her hips. “Like you’re not from around here. Like you’ve never seen a poplar before or you’ve never walked on the grass barefoot just because you could.”
“… I’m sorry?” The other girl questioned. The spark of interest she had for this place became a flame kindled by the words of the stranger. She mimicked the shorter girl, towering over her with her hands now on her hips and staring down with eyes that matched the dogwoods and bouncy, brown curls that sprung up and down with each word she spoke and each thought she created. “Just because I come from Caruso doesn’t mean I can’t explore this place.”
“Ah, Caruso, you say?” She shot back.
“Yeah. Why, are you from Curran or something?” The curious flame continued to grow with a passion for information, but also for Caruso as well.
The blonde girl snickered.
“Honey,” she began. “Don’t even get me started on that.”
“On what?” The girl of Caruso questioned.
“Whatever silly battle you two cities are involved with.”
“It’s not silly! People of Curran are horrible, selfish, greedy people I don’t want to associate with. Simple as that, really.”
“Okay. Then why are you here.”
“I’m not allowed to leave Caruso? Maybe I just like adventure.”
“Oh no, certainly not. You are allowed to explore.”
“Then that’s why I’m here.”
“But why here, specifically? There are several other dirt paths closer to Caruso you could have ventured down. Why this one? Why so far away?”
The wanderer paused for a moment. She had a distinct motivation and reason for traveling so far from home. She moved her hand closer to her pocket, where she had stuffed the piece of paper earlier. She pulled it out without thinking.
“I found this,” she said, smiling and feeling accomplished for having a decent answer for the stranger. She handed it to the blue-eyed girl.
“So you’re just going to give me this?” she inquired. “You don’t even know where I’m from, hell you don’t even know my name. I could be from Curran for all you know.  I could be this ‘selfish greedy’ person you were describing. And you’re just going to give me this without knowing a single thing about me?”
“Well then…. What is your name?”
“Out of all of that, you think the most important thing is my name?”
“Um, no, but —“
“Dear…. You have a lot to learn.”
They both stood there. The short girl read over the paper as the other stared at the dirt path and how it contrasted with the rich grass. It reminded her of the emeralds she saw in the jewelry stores all over Caruso and how it made the ugly mixture of brown and red in the dirt path only that much more distasteful. Her eyes stayed fixated on the ground, even when she asked her next question.
“So you’re from Curran, I gather?”
“No. I’m from here.” She kept her eyes on the paper as she spoke.
“Where is ‘here?’” She picked her head up and made a gestured to the green area around her when she asked that question.
“The name of this place is not important,” she replied as she gave the note back to the girl. “What is important is how you got that note.”
“What do you mean the name of this place isn’t important?” Her brown curls were now leaping. The flame in her eyes became a bonfire. “And does it really matter where I got this note from?”
“Yes, actually. Where you got this note is very important. And don’t worry: I’m on your side. I’m not greedy or selfish or a bad person. Just please don’t stay fixated on trivial details like names and places.”
The fire in her eyes began to die down a bit. “Sorry,” she said. “I can get a bit defensive when I’m frustrated.”
“No need for apologies. Like I said, I’m on your side.”
A breath of silence, a vocal note from the wind.
“All I ask is where you got that note.”
“I found it attached to one of my essays from English class.”
“And where do you go to school?”
“Caruso Academy.”
“Caruso Academy? Attached to one of your papers? That’s a new one. Your teacher put it there then?”
“I asked him about it and he didn’t answer. He said he never saw it before.”
The girl of the forest slowly smiled and a sparkle found its way into her eye.
“Very interesting,” she answered. “So why did you decide to come along, venture out here at such a young age? You weren’t afraid? You trusted the author of this note?”
“Well… yeah, I guess. I mean… I don’t know. I really didn’t think about it. It looked interesting so I came here.” She answered the questions with hesitation in her voice.
So quick to trust.
So quick to respond.
And what if it all crumbled? What if she found herself facing her death, or deep within the city of Curran, never able to find her way back to Caruso safely?
“You don’t seem so sure…” the other girl commented.
“I saw the opportunity so I took it.”
“Alright… I can see that.” Easy to trust, and very naïve, the native girl thought. That’s unusual for a Caruso. But then again, nothing is usual for them either, I suppose. All of them so incredibly diverse and unique. “Your teacher,” she continued. “Is his last name Patterson?
She shook her head with disgust. “No, he transferred to Curran.” She rolled her eyes. “I have Hull.”
“Hull?!” Her eyes widened with astonishment.
“Yeah, you know him?”
“…Perhaps. Again, just more information that’s not important.”
“Um, okay.”
“Anyway,” she diverted the conversation and regained her sense of awareness and confidence. “I think it’s time you’ve ventured a bit further into this place.”
The two of them continued. The Caruso native decided to take her shoes off at one point and feel the grass under her feet.
Tickle her toes.
Cushion her soles.
Relax her heels.
The song of her tumbling thoughts and the vocal wind returned to her as the petite girl let her walk in silence, allowing her to take everything in at once. It’s so serene, she thought. Why concentrate on the dirt path when there’s an olive carpet and growing trees around me? Why did I ever love the city so much and why have I never truly left the bustle?

* * *

After a few minutes, they reached what looked like a village straight out of a fairy-tale.
Gardens.
Squirrels.
Foxes.
Butterflies.
Dandelions.
Children playing tag.
Everything hit her quickly and potently, one after another. She grasped the environment around her in quick bursts, even the subtlest details making the strongest impact on her.
Welcome mats in front of each door.
Wind chimes in the gardens.
Wells a few feet from each cottage.
But what seemed to stick out the most to her was the peace that each person had with one another. People hopped from cottage to cottage, sharing vegetables from their gardens, exchanging friendly conversations, yet keeping a sort of peaceful harmony. There was no commotion here. Everything fit together melodiously.
 The native girl watched the outsider’s reaction and simply grinned.
“Welcome to Nagy,” she introduced the village to her, though not much information seemed to pass through the curious girl’s mind as the beauty around her hit her like a bag of bricks. “’Have you ever left your front door? Surely you’d like to see what this world has to offer and more. Venture around. Leave home You’ll listen to wonderful sounds, and find beautiful places to roam. We’re friendly here, dear. We love all, even though right now we are quite small,” she quoted the note.
“It’s… beautiful,” the city girl said in complete awe. “Not only the surroundings but also the peace. I can tell everyone genuinely loves and cares about one another, like they’ve earned their trust.”
“Want to hear something interesting?” The short girl shot her a glance. “Each cottage that makes up the village is half Caruso, half Curran.”
Half Caruso, Half Curran.
Half Caruso.
Half Curran.
Half.
Caruso.
Half.
Curran.
The girl’s hair stopped bouncing. The flame in her eyes froze. She remained still.
“Everyone here was tired of the fighting. Tired of the judgment. They wanted to see if they could get along together, half Caruso, half Curran. They found out they really had no differences at all. The views they had of each other were tired stereotypes and propaganda. They had more in common than they thought. So they got together and formed Nagy.
“Nagy will let anyone move in. We just want to stop the feud. That’s why we send out messages to people. Some of your teachers even live here, working to keep the peace. And some don’t. Some work, I guess you could call it ‘undercover’ in Curran and Caruso. That’s why Hull came as a surprise to me, because he does not live here.”
She dumped the entire story onto this girl so quickly and swiftly.
But that’s how it ultimately stuck for her.
“Those notes,” the city girl snapped out of her daze and asked, turning her head to the girl. “Did you write those? Then give them out to those who wish to keep this peace?”
“Of course, dear,” she answered.
“You’re incredible.”
“I wouldn’t say that. I just write the notes and help the people find their way here.”
“All on your own?”
“Of course.”
“But… how are they getting along so well?”
“Because they’re people, like you and me.” She chuckled a bit, still surprised that some people don’t understand that concept. “Want to hear a secret?” She continued. “I’m was born and spent most of my childhood in Curran.”
She looked at the tiny girl in awe. “But we just started getting along so well. I started valuing your words and finding so much genius in you. So much kindness, compassion, and caring. You’re from Curran?”
“It doesn’t matter where I’m from. We’re all just people, aren’t we?”
She thought about this. How this made so much sense, yet she never seemed to believe such obvious logic until now.
“And that’s why your name never mattered. It never mattered where you were from either. That stuff isn’t important.”
Hearing the words repeated back to her, the girl’s blue eyes softened and became more friendly, yet wise and authoritative. “Now you’re getting it.”
“But for the sake of my friends and family, for the sake of your friends and family…. I must know your name. So brave and wise at such a young age. I think someone like you deserves to live on in some way.”
“I promise you it isn’t important. No one here even knows my true name because I think it’s so insignificant.”
“I’m Mitzi,” the taller girl said.
The other girl sighed. “I’m Christie. My parents made sure that something fantastic, wise, and impossible found its way into my name, so they made sure to include Christ. The rest was their imagination.”
“Christie…” Mitzi repeated, “I’ll have to remember that name. The name of a brave, clever girl who opened my eyes to the truth in such a short amount of time.”
Mitzi carried the information with her the rest of her life. The village of Nagy never left her as word began to spread and the hate began to dissolve.
Years passed, and then Mitzi found herself in the Nagy Hospital one day, cradling her first-born child on the first of June.
“Christie,” she said to her husband. “That will be her name. Just like the girl who showed me Nagy and lead the revolution in peace.”

Tuesday, September 17, 2013

Diseased Rabbits en mi Casa

     When channeling creative thoughts, I, as well as the rest of the world population, run into obstacles.

    ¿Que idioma debo escribir esto?*      
     Should I write about how rabbits have developed — no, I need to paint that bird I just saw fly outside.     
     ¿Este proyecto es más importante que todo mi vida?*         
      I'm good at math ... right? Or should I be focusing on my photography?     
     Creo que yo puedo hacer cualquier cosa. ¿Pero ... que?*     
     Obstacles and follies find themselves everywhere in the life of the creator, but four problems remain the most prominent: weeding out what is true creative energy and what is just a distraction; if creativity is worth it if one has to juggle other priorities in life, controlling where one's creativity truly lies and finally figuring out what to do with all of this creativity and bursts of inspiration. These four obstructions were outlined in the work, "Creativity: Flow and the Psychology of Discovery and Invention" by Mihaly Csikszentimihalyi.      
     What I particularly liked about this piece was the line, "I am assuming that each person has, potentially, all of the psychic energy he or she needs to lead a creative life." To say that anyone has the ability to be creative struck me as a bit of a bold statement: We can all be the next J.K. Rowling if we can manage to set aside these four main viruses according to Csikszentimihalyi.      
     We can cure the disease of obstruction with the vaccination of curiosity, passion, exploration, determination and focus: Simple remedies in structure but complex in practice.     
     Csikszentimihalyi sews his thoughts seamlessly on the paper, focusing his creative energy on psychology and writing. He clearly meditated on these thoughts his entire life, realizing his four weaknesses, his strengths in psychological studying and working off of them.
    While reading this chapter, I couldn't help but think of the song "Carousel" by Vanessa Carlton and the story behind it. After battling depression for a couple of years and taking a hiatus for over four years, Carlton claimed to have, "woken up with the melody in my head one morning." She struggled with distractions: the fight with depression, figuring out where her true musical gems come from and what her style is, and finally channelling her creativity in the correct form: back into music composition.       
     The four main viruses infected her.
     This song was the spark for her latest album, "Rabbits on the Run," and essentially broke the creative mold for her. She found her vaccination in "Carousel" and is continuing her career as a singer/songwriter with a new album in 2014.
     Csikszentimihalyi seems to have nailed the ideas and obstructions behind creativity in the head. Pienso que Csikszentimihalyi conoce este tema en un luz muy nteligente.*


TRANSLATIONS:
* What language should I write this in?
* Is this project more important than the rest of my life?
* I believe that I can do anything ... but what?
* I think that Csikszentimihalyi knows this theme in an intelligent light.

Thursday, September 12, 2013

crea Where is the tivity ? Where is the Creativity?

     Perhaps it's located in the title? Is "creativity" physically surrounding the title of my blog post?
     Where is it elsewhere? Hidden within the works of Freud, Einstein, Picasso, Stravinsky, T.S. Eliot, Martha Graham and Gandhi? Or rather who is creative instead of where is the creative work?
     In Howard Gardner's "Creators: Multiple Intelligences," he thoroughly examines the ideas laden within the notions of creativity, but he approaches them in a, well, creative manner. Instead of pondering who is creative and what exactly creativity is, he asks where the creativity lies. As he claims, we've evolved to think about different content: it is a way of being. Creativity does not comprise of random bursts of inspiration, but rather it is a cohesive mindset. He focuses on the seven genius minds of Freud, Einstein, Picasso, Stravinsky, T.S. Eliot, Martha Graham and Gandhi in his paper. However, Graham was someone who stuck out to me.
     Since I could walk, I was in love with the art of dance. As I grew older and became exposed to modern styles of dance, I constantly found inspiration in Graham's choreography, dedication and overall talent.

     "Dancing is no longer a step child of the arts." — John Martin on Graham.


     Her dancing transcended society's perspective on what it truly means to express yourself through music. Following Gardner's chart, Graham mastered in bodily linguistics, but not logical thinking. Thinking on her strengths and weaknesses, I've reached a conclusion:
     Martha Graham is not creative.
     Martha Graham's creativity is located in her limbs.
     If Martha Graham were not creative, she would be using the logical thinking that flowed from her brain: The "who" in this equation. But rather, Graham is using her body to allow her creativity to burst through the stage lights: The "where" in this equation.
     For that reason alone, Graham is truly creative. I can see exactly where her creativity springs from just by looking at her, which is why she has always been such an inspiration to me as a dancer.
     Dancing has truly become a respected art because of Graham. There were countless days when I would find myself in a studio just begging for some sort of way to vent my emotions over a terrible day, or just to tell a story for a song I was passionate about. Locating the creativity from Graham was what ultimately pushed myself and my dance company forward through the years. It was not studying her life, her aspirations, or even who she was as a person.
     It was discovering where we could find the talent of creativity.
     Like Graham's style of dance — telling a story through the music and movements — it is easy to pinpoint where the creativity is coming from. My choreographer from my dance studio followed her story telling techniques as well, allowing me as the dancer to help my instructor and the audience find where exactly this tale is coming from. Both Graham and my teacher allowed the creativity to wind up on the stage: To let the art flow from our limbs and not just from our minds.

Monday, September 9, 2013

Untitled; Unnamed

     As a child, I always found the idea of parenting to be fixed, methodic, and formulaic.
     Meticulous.
     Effortless.
     Systematical.
     Scrupulous.
     But in reality, it's nothing short of a mess.
     The actions revolved around the mess of parenting only became more clear to me after reading "Covered Bridges" by Barbara Kingslover and "The Woman who Lost her Names" by Nessa Rapoport.
     Reading "Covered Bridges" was almost like looking into my future. The married couple in the story were undeniably in love, content with their careers but terribly awkward in such a graceful manner.
     It's mostly the graceful awkwardness that I identify with.
     Lena: The girl with the perfect name and the imperfect bee allergy.
     Christie: The girl with the bubbly, almost Christian name and the determined, adventurous outlook.
     Such a contradiction only adds to mine and Lena's character and only adds to our air of bumbling. I kept this in mind while reading "The Woman who Lost her Names." Hearing the tale of a woman who struggled for the symbols of a name, for a title that fit. This ultimately got me thinking:
     Does it really matter?
     "What's in a name?" Romeo asked. And now I'm asking along with him.
      I grew up practically my entire life hating and resenting my name: it had no back story, no family history, it was uncommon and everyone called me "Christine." Growing up, however, I began to appreciate the fact that a name truly doesn't matter.
     "A name is a title, just like a book has," I remember my kindergarten teacher telling my class the first day of school as all of the Emilys and Michaels fought over who was the "best" Emily or the "coolest" Michael. "A title isn't the whole story, and neither is your name."
     Her words stuck with me until this day. And even now, the bent and handled magnet she made for each child in class still hangs on my fridge back home:


     It reminds me that nothing's methodical or effortless: parenting, naming and life in general. Everything is a graceful, awkward mess and no title can ever fully describe someone's individual and unique story: A MESS.

Thursday, September 5, 2013

E = MC(reative) Squared

            I honestly cannot remember a time where I didn’t want to be creative — but I cannot remember the time when I’ve ever wondered what it truly means to be “creative.”’
            Something as subjective as creativity can be difficult to pinpoint. Sure, it’s easy for us to recognize when something is creative, but what exactly does that mean? Objectively speaking, that is.
            This question bugs me. After reading through several essays from acclaimed authors such as Margaret A. Boden, Steven Johnson and even Albert Einstein (who, I’m sure, doesn’t need to be justified with a hyperlink), the concept seems a bit more tangible to me. Each author focused on different aspects of creativity; however, one idea from each of their perspectives stuck out to me in a, well, creative and ingenious manner.

            In Boden’s "What is Creativity?," she briefly focuses on the idea that creative thoughts are, more or less, a lucky and random combination. Einstein’s letter to Jacques Hadamard mentioned how creativity denotes a person’s flow of logic. Steven Johnson’s appendix in his piece, "Where Good Ideas Come From" listed many creative innovations in science and technology through the years. Boyle’s Law of proportions stuck out the most to me and melded harmoniously with the other two themes.

            “There is, of course, a certain connection between those [creative] elements and relevant logical concepts.” – Einstein

            “Accordingly, the surprise of the ‘creative idea’ is said to be due to the improbability of the combination.” – Boden

            “… the volume of the gas will remain inversely proportionate; i.e, as one decreases, the other increases, in proportionate degrees.” – Johnson

            A creative thought represents a sense of concrete, scientific logic, which is then tainted with a sense of spiritual, subjective originality. Both elements work together in proportion to one another.
The more someone’s thoughts become logical and mathematical, the less creative they are and vice versa.
           Thinking about becoming creative always brings me back to the viral YouTube video, "Don't hug me, I'm Scared." Just as the puppets in the video lose sight of black-and-white type thinking and venture over to the side of colors — ignoring the un-creative color green, of course — and creativity, their thoughts run wild. Wild, creative thoughts. So undomesticated that it draws the characters to a potent, creative insanity.
            And so again, I’m reminded of Boyle’s law: as one’s creativity increases, one’s ability to be logical — and, in the case of the video, avoid death — decreases.
             I feel as though creativity will always be in a constant limbo with logic. They’re polar opposites, and ultimately, one cannot exist without the other. And isn’t that what creativity is? Beating the logic, escaping from reality, and entering a new world with a new set of rules that may or may not make sense? Just as the characters of “Don’t hug me, I’m scared” enter a new world with creativity, for better or for worse, it is the process all creative people go through.
             The balance between these two ideas are key. Finding that balance and tailoring it to your personal style truly makes a person creative.